I Wanna Be in Auckland Tonight... 81-82

Rip It Up, Issue 100, 1 November 1985, Page 23

I Wanna Be in Auckland Tonight... 81-82

by Troy Shanks ■ t t

Don't laugh, 'cos in the early 80s, Auckland was a city with a burgeoning music scene strong enough to sustain more than a dozen venues. In one weekend you could go to see the Newmatics

and Blam Blam Blam at the Reggae Club,

Penknife Glides at XS Cafe, the Techtones at the Reverb Room, Pop Mechanix at the Rumba Bar, plus several other bands.

Things were happening fast and the scene was more open to new and enthusiastic bands than ever before. Venues were opening up for acts like the Screaming Meemees, the Blams and Newmatics, bands that typified the fresh, exciting sound of the real young Auckland. No-frills dynamite pop with an emphasis on fun. Radio B was shooting out the best local sounds in town and soon even some of the mainstream stations caught on. Television got in on the act with Dropa Kulcha its theme tune was the Meemees' first single ‘Can't Take It'.

One of the more potent acts to emerge in 1980 was Blam Blam Blam. The remnants of the Whizz Kids, once free of the others, were able to kick some jarring, rhythmic life into the city. Despite sudden time changes and anticonservative lyrics they were loved by crowds everywhere. Danse Macabre (“The Dance of Death”) was another atypical Auckland outfit, often at odds with

other local bands. A fluidsounding unit with an effective use of synthesiser, their sporadic, ethereal performances reflected their abhorrence of commerciality.

Macabre’s Reaction Records stablemates were Penknife Glides. The Penknives had a heavy emphasis on danceable and original tunes. Always receiving strong support, they grew from the ska-

based sound which made them favourites with mods and skinheads to a sophisticated and unique band that brought something special to Auckland music. Like the Penknives, the Newmatics formed in late 1980 and had much the same audience. Their youthful followers flocked to see them at XS and the Reggae Club, where they knew they could have some heavy skanking. The addition of a brass section saw them venture through reggae and onto soul and funk. Despite accusations of being derivative, the Newmatics

stumbled onto their own sound. The sheer excitement at their gigs was a once in a lifetime experience. The first time that I saw them I couldn't stop dancing. They released three singles: ‘Judas’, Broadcast 0.R., and the posthumous ‘Square One’. All of which did them justice, proving that they were a cut above the rest. When the Newmatics split in March 'B2 there was a

deep feeling of resentment amongst the crowd, there were no encores and it was clear that the split was a bad case of egos before music. Perhaps Mark Phillips

accurately captured the audience’s bewilderment in saying “I feel robbed of an album." When these bands were alive and rocking, Auckland bounced with an electric verve. A constant stream of free concerts and underage rages during 'Bl and ’B2 brought the music to a wider younger and receptive audience. The mood of the time was right for creating music. This ain't romanticism, this is reality. To me, there was one band who blew the others

away not because of technical skill or polish, but for their conviction and exuberant energy which gave me so much joy. My favourite New Zealand band ever was, and is, the Screaming Meemees. The Meemees' ragged brand of pop was about one thing only having a good time. In suitable style their first performance was at a school talent quest. They knew two songs and were "abysmally bad" From parties to Sweetwaters and the North Shore to New Zealand they played their vibrant music. Record releases followed and they went on tour as part of the Screaming Blamatic Roadshow in July 'Bl. To coincide with the tour they released the nowfamous 'See Me Go' single. It rocketed to Number One in its first week of release (and is still the only local single to have done so). Why? Because the band was so good. They received nationwide publicity, including the Women's Weekly ! The

Meemees rode on this success for the next three years and lived on about

SSO a week for three years. They weren't disillusioned though. “I never wanted anything out of it and that's exactly what I’ve got." was guitarist Michael O'Neill's attitude. By the end they were tight, quality musicians, but where the skilled professionalism arrived, the fun had gone. O'Neill left, reportedly because “the rest of the band was progressing faster than Michael even the reviews mentioned that.” Basically the Meemees

changed and got funky while Mike hadn't. It was only right that the Meemees decided to end it all.

By early 'B3, all of the best acts that came out of the 1980 Auckland scene had split. Gigs were becoming fewer with more and more venues closing down. Everyone was expecting the support bands like the Dabs and the Prime Movers to pick up the crowns of the former glory boys. Unfortunately the crowds never saw them as headliners in their own right and although some golden pop was still being made they couldn't match the popularity encountered by the earlier bands. The overseas scene was changing and grew in influence. This was reflected

in the increasing dominance of disco-orientated

nightclubs. Two extremes in

local bands developed: serious but self-indulgent types and blatantly commercial "safe” pop boys. Both boring, both unnecessary.

It is nearly impossible to recapture the heady feeling of the times. There was a genuine buzz of excitement which has since been missing in local music. The vibrancy of those days culminated in what was possibly the last of the great Auckland gigs the Stanley St Frolics in December 'B2. Otis Mace, the Diehards, Flip Singles, Narcs, Dabs,

Mockers, Legionnaires, Screaming Meemees and DD Smash. It was $5 and 3000 people came to show their support. Most were kids, too young to see these first-rate acts at pubs and nightclubs. The atmosphere has never again been matched.

The bands are gone but their music is still with us. When I play those records I remember how good it felt to be a Doobie Do Boy.

Troy Shanks